Sad this week is the last Mr. Robot for a while. What an enjoyable show.

I totally missed this phenomenon because I thought it was pop sci-fi trash and sci-fi is a total anathema. The general "holy crap"-ness it has apparently thrown AV Club and Hollywood Prospectus into leads me to believe I have made a misstep.

Yes. I was skeptical, but it's one of the best things I've watched in quite some time.

Rectify is so well done, caught up with season 2 and start of season 3 this weekend. If you going to watch it, I highly recommend you catch up on the first two seasons first. Totally doing in my head at the moment... One of the few shows that allows the viewer to figure out what's going on without hitting you over the head all the time.

So I watched episode 1 of Rectify, and I'm wondering if I should continue. My recent favorite shows (Breaking Bad, Justified, The Americans, Homeland) typically have quite a bit more action and more interesting and appealing (in both bad and good ways) characters than I saw on display in episode 1...which seemed a bit bland/slow for characters/plot.

Does it get better, or does my reaction to episode 1 predict what I'd think of the whole show?

"Rectify, a new series about a Georgia man who is freed after 19 years on death row, traces the history of the Sundance Channel in reverse. For about an episode and a quarter, it?s very good television. But over the rest of its six-episode first season it resembles nothing so much as a bad indie film, the kind of slow and tepid bummer that used to fill Sundance?s late nights and afternoons when it was a full-time movie channel."

"Rectify, a new series about a Georgia man who is freed after 19 years on death row, traces the history of the Sundance Channel in reverse. For about an episode and a quarter, it?s very good television. But over the rest of its six-episode first season it resembles nothing so much as a bad indie film, the kind of slow and tepid bummer that used to fill Sundance?s late nights and afternoons when it was a full-time movie channel."

I applaud your ability to go to metacritic, search the show, see it has a score in the 80s and a "Universal Acclaim" tag, and skip over the 25 positive professional reviews to cherry pick one of only two negative ones. That's very GGW of you.

"Sledgehammer touches like this accumulate rapidly by the dozens in Show Me a Hero. The scene is characteristic of Haggis, a tediously literal-minded black-and-white moralist whose films render even Ron Howard's middling brand of preachy cinematic tapioca spicy by comparison. Directing all six episodes, Haggis makes his usual inadvertently condescending fetish of the gritty white middle-class, which is meant to contrast with his insidiously patronizing sanctification of struggling blacks and Hispanics as imperiled lambs forever lecturing one another for their crimes or accidentally breeding whenever one of them so much as feints toward a sexual gesture. Haggis's ?empathy? with the marginalized is offensively defensive, serving to color them into the very ?other? corner that the miniseries is attempting to deconstruct. The narrative's elliptical structure (each episode is set several months apart, cumulatively spanning several years from the late 1980s to the early 1990s) ensures that the non-white characters are scrambling from one situational extremis to another, embodying a white-perceived cliché of their lives as chiefly composed of squabbling and tragedy."

"Sledgehammer touches like this accumulate rapidly by the dozens in Show Me a Hero. The scene is characteristic of Haggis, a tediously literal-minded black-and-white moralist whose films render even Ron Howard's middling brand of preachy cinematic tapioca spicy by comparison. Directing all six episodes, Haggis makes his usual inadvertently condescending fetish of the gritty white middle-class, which is meant to contrast with his insidiously patronizing sanctification of struggling blacks and Hispanics as imperiled lambs forever lecturing one another for their crimes or accidentally breeding whenever one of them so much as feints toward a sexual gesture. Haggis's ?empathy? with the marginalized is offensively defensive, serving to color them into the very ?other? corner that the miniseries is attempting to deconstruct. The narrative's elliptical structure (each episode is set several months apart, cumulatively spanning several years from the late 1980s to the early 1990s) ensures that the non-white characters are scrambling from one situational extremis to another, embodying a white-perceived cliché of their lives as chiefly composed of squabbling and tragedy."

I applaud your ability to go to metacritic, search the show, see it has a score in the 80s and a "Universal Acclaim" tag, and skip over the 30 positive professional reviews to cherry pick the only negative one. That's very GGW of you.

Show Me a Hero was great until the most recent one I watched. Maybe it gets better in the last few episodes, but the teenager getting pregnant, her boyfriend then getting arrested. The woman on crack..I mean who is going to get shot? The old lady? The latino's kids? It's turning into Crash (which sucked).

I was tempted to watch this, seeing as how it was supposed to be an origin for Gordon and what not, but how can they introduce all these villains when Bruce Wayne is like 9 and Selina is 10? Are they just throwing out the current DCU and making up their own? Which, I guess is totally fine, but didn't it defeat their original purpose...